>From: cs962@cleveland.Freenet.Edu (Colin P. Macinnes) Bang Sonic! the Atomic-Powered alt.rec.misc.music.comp E-mag (Volume I, Issue 5) January 1994 In this issue: Bjork Nick Heyward Adam Sandler One Dove Volume 7 Charts and Letters ******************************************** Bjork Debut (Elektra Records) A LOVE FROM OUTTER SPACE Head to toe, Bjork is different. No two ways about that really. However, not different in a concerted, self-aware, They Might Be Giants, sort of way (and that is in no way a swipe at TMBG). Anyone as unique and foreign sounding as Bjork runs the risk of becoming a novelty and being categorized as such. With Bjork though, there is a quality which is completely odd, and completely genuine. When the Sugarcubes first broke loose to become Iceland's greatest contribution to pop culture since "Ice Hockey" (which actually came from Kingston, Ontario) the first thing everyone latched on to was Bjork's voice. She sounded defiant and vulnerable, childlike and erotic, all in the same breath. With its quirky rhythm and Bjork's vocals which alternated between a whisper and a scream, the breakthrough single, "Birthday", swept over the North American musical landscape like a brush fire. Exotic vocalists tend to come and go quickly (see: Haza, Ofra) so the test would be whether Bjork could evolve and continue to maintain the public's interest. Over the course of three albums Bjork, and the Sugarcubes as a whole, sounded increasingly focused, less disjointed, less edgy. Continuing with this trend, Bjork's first solo album, "Debut", is just as diverse (well almost as diverse) and far more maturely refined than anything the Sugarcubes ever recorded. KEEP ON MOVIN' . . . Much of the credit for the groovy-smooth sound of "Debut" is undoubtedly due to Nellee Hooper (of Soul II Soul fame). The album covers a great deal of musical ground and yet hangs together as a cohesive unit as it revolves around Hooper's easy-driving dance sound. The tracks that do move away from the overriding theme and into the quirky, are those on which Hooper relinquishes control and allows Bjork to keep a hand on the production helm (see tracks 5 and 11). The collection opens with the rhythmiclly hypnotic kettle drums of the first American single, "Human Behavior". "The voice" is just as wide ranging as ever, lashing out and soaring sweetly in equal measure, but against a haunting backdrop of disco bliss, there is a far greater sense of control. Half the album is spent in a similar vein. Melodic, user-friendly dance songs with the exotic Bjork emoting in the foreground. "Big Time Sensuality" is the stand out track on the album, hands down. Triple-deep baseline and jabbing organ bits (musically, a lot like Betty Boo's first album). Lots of growling and howling. It covers the waterfront. When the beat relents, which is fairly frequently, there are some terribly interesting moments. Lots of strings and harps and atmospheric noises. These songs help to make this seem more like a traditional album, and less like a merciless nightclub. The closing track, "The Anchor Song", is by far the strangest piece in the collection. Just Bjork and an avant-gaurde horn section that sounds as if it were borrowed from Elvis Costello's "Spike". No slick drums. Not a baseline to be found. As Bjork sails off into "Debut's" sunset, there is a sense that this is only the beginning. Vital Statistics Bjork - Debut Released on Elektra Catalog number 9 61468-2 Total playing time: 48:26 11 Tracks Human behavior Crying Venus as a boy There's more to life than this Recorded live at the milk bar toilets Like someone in love Big time sensuality One day Aeroplane Come to me Violently happy the Anchor song Produced by Nellee Hooper and Bjork ******************************************** Nick Heyward From Monday to Sunday (Epic Records) OBSCURITY KNOCKS It was over a decade ago that a young Mr. Heyward led Haircut One Hundred through a quintessential album of the early 80's, "Pelican West". After the obligatory creative differences and legal confrontations, Nick struck out on his own to embark on a solo career that has not been without its auspicious moments. Unquestionably, the high watermark in Nick's career came when not one, but two of his songs played in the background during the big high school dance scene in John Hughes' teenage epic, "Sixteen Candles". Nick's next brief encounter with pop culture came during a "60 Minutes" story on British military officers returning home after years of colonial occupation in foreign lands. During an interview with one particularly eccentric and disgruntled retiree, the former officer flipped on the television and was confronted by Nick Heyward's video for "Warning Sign". The gentleman then went on to blame the ills of humanity in general and the decline of the English Empire in particular on Nick (though he did not mention Nick by name, the charge was probably more generally aimed at those of Nick's ilk.) There were other appearances. Nick was the opening act at Wham's momentous farewell concert at London's Wembley Arena. It has been alleged that a song of his was used in the John Travolta film "Perfect". It never made it on to the soundtrack (and I have never seen the film so I can only pass along what I have been told.) Nick also showed up to add his trademark guitar work to a phenomenal (and painfully difficult to locate) single by the Groovetrain called "Why did you do it?" Then he was virtually unheard from. At least he didn't pop up on any more American TV news magazines. The unkindest cut of all came when a local columnist wrote in response to an inquiry "yes, there actually was a band named 'Haircut 100'. I wouldn't have believed it myself if I hadn't looked it up in my encyclopedia of Rock-n-roll." The career of international pop star Nick Heyward was faltering, to say the least. THE RETURN OF JOLLY ST. NICK On this fourth solo album (it really is his fourth, don't let him kid you into forgetting "Postcards From Home" from 1986) Nick sounds like the classic English songwriter he was destined to become. The sound is vintage pop in the same ballpark as the Lilac Time, Black, Paul Weller, or Bradford. Not as many trumpets as Nick used in the early days, but plenty of string arrangements and jangly guitars. The album sounds refreshingly unlike the vast majority of music recorded during the past five years. The first single released from the album, "Kite", is absolutely beautiful. Soft-spoken, but with a cynical cast, it bounces along for three minutes and is as catchy as a cold. It even contains a brief trumpet bit which is extremely reminiscent of the horn blast in Haircut 100's "Fantastic Day". The rest of the album is similar in tone though the song styles vary greatly. "How do you Live Without Sunshine" stands out in the middle of the album as an epic sized, eight minute ballad, yet it doesn't seem out of place among four minute love songs. Perhaps it is reminiscent of the Dream Academy, but it is still a fast-moving eight minutes. It also helps that Nick Heyward remains the hapless romantic throughout. He isn't out to save the planet, or start a revolution. He just wants to end up with the girl occasionally. The other outstanding song on the album is "Diary". It is considerably less delicate, harder edged than "Kite", yet it features a fantastically melancholy string arrangement. Think the Beautiful South. The song's mood lurks somewhere between embittered and forlorn, yet Nick never lets the anger take control. That may be the key element to the success of "From Monday To Sunday." Nick Heyward sings through a range of emotions in these songs, but he never lets them get in the way of a great, three minute pop record. Vital Statistics Nick Heyward - From Monday to Sunday Released on Epic Catalog number ek 57755 Total playing time: 46:01 12 tracks He doesn't love you like I do Kite Into your life Caravan Ordinary people How do you live without sunshine January man Mr. plain These words All I want you to know Diary Everytime Produced by Nick Heyward ******************************************** Adam Sandler They're all gonna laugh at you! (Warner Brothers) TRYING TO FIND SOMETHING TO LAUGH AT During his brief appearances on M-TV's "Remote Control" Adam Sandler managed to take mediocre material and make the most out of it. Even on the lackluster Saturday Night Live he extracts the maximum possible laugh potential from paper thin comedy premises. Granted, Opera Man is a big waste of network airtime that could put to more entertaining use by showing the "Emergency Broadcast Signal" for three minutes. However, Sandler scores bonus points for getting any comedy mileage at all out of Cajun Man. The fact that Adam Sandler can be extremely clever makes this album of sketch comedy and songs all the more disappointing. There are bits and pieces that are funny, but they are remark ably few and far between. Most of the material is dull as dirt. The rest is so unfunny it hurts to listen to it. The language is extremely foul on many tracks. That usually wouldn't be a problem, but here it seems like vulgarity is being used as a substitute for wit and imagination. The Jerky Boys would be drop dead funny with or without swear words. "Toll Booth Willie" and the entire "Buffoon" series rely exclusively on the premise that it's funny to hear someone spew blue language. Seventh grade boys might laugh at these tracks. Probably not. THE LAST BEST HOPE FOR HUMOR The best tracks on the album are the songs, which are a lot more focused and well thought out than the sketches. "The Thanksgiving Song" and "Lunchlady land" are both bizarre little tunes, reminiscent of the "Sweatshirt" song from SNL. There are sketches that seem to have some promise when they begin, but like most of the pieces on SNL, run out of steam early and have no place to go. It's very sad that this is such an uninspired piece of work. Adam Sandler is a much funnier guy than "They're all gonna laugh at you!" would suggest. Hopefully he'll flee the sinking Saturday Night LIve ship soon and shrug off it's influence. Until then, they probably aren't ALL gonna laugh at him. Vital Statistics Adam Sandler - They're all gonna laugh at you Released on Warner Brothers Catalog number 9 45393-2 Total playing time: 54:39 22 Tracks Assistant principal's big day The buffoon and the dean of admissions Buddy The longest pee Food innuendo guy The beating of a high school janitor Right field The buffoon and the valedictorian Mr. Spindal's phone call The Thanksgiving Song The beating of a high school bus driver Oh mom. . . Fatty McGee At a regular pace The beating of a high school science teacher The cheerleader I'm so wasted Lunchlady land The beating of a high school spanish teacher Tool booth Willie Teenage love on the phone My little chicken Produced by Brooks Arthur Featuring Adam Sandler, Rob Schneider, David Spade, Tim Meadows, Tim Herlihy, Allen Covert, Robert Smigel, Conan O'Brien, Steve Koren, Jennifer Lien, Meghan Andrews, Andrew Leeds and Sweet Margaret Ruden Parental advisory - explicit lyrics ******************************************** Volume Seven (the Total Record Company) THE FUNDAMENTALS "Volume" is a 200 page, compact disc sized magazine, which comes out three or four times a year. It includes a disk in the back cover which contains "at least" fifteen previously unavailable tracks. It is of English origin and therefore was somewhat pricey when it first began to appear on these American shores. Men (and women) were known to pay as much as $30 per issue at boutique record shoppes. Now, however, "Best Buys" (the E-lectronics superstore with a heart) is passing along the savings to you and offering issues of Volume for a mere $13.99. This is not to be considered an advertisement for the aforementioned retail giant, other outlets may well be offering similar or superior bargains, however trendy music stores in the Metro area continue to ask twice the Best Buys' price. Volume. . . Debut. Debut. . . Volume. "Volume" is akin to a similar English export of a decade ago, "Debut" magazine. For roughly a dozen issues "Debut" chronicled the pioneering acts of the day and included an LP of the most recent material. Though wildly uneven, these records proved to be historical documents, time capsules of an era that is, at this very moment, being repackaged and sold off the nostalgia bandwagon. But I digress. Because for all the future historical implications "Volume" issues are nothing if not glimpses into the future of the American music curve. THE SOUND OF TOMORROW . . . TODAY The impressive thing about "Volume" is that all of the tracks are from new, forthcoming releases. So even though "Volume Seven" is not exactly hot off the presses (and will only be less so by the time you read this) the music is still yet to be discovered by Mr. and Mrs. America. Even beyond the benefit of being the first on your block to know the inside story on Sabres of Paradise, the disc hangs together as a coherent, if somewhat uneven, look at the current state of alternative pop music in England. This issue's collection ranges from the heavy guitar driven pop of Redd Kross to the lilting, barely-there remix from Seefeel with heavy doses of dancy-dancy techno filling in the gaps. Of course the danger with a disc like this is that there is a chronic lack of continuity, but that isn't the case here. Teenage Fanclub establish the tone for the set with a happy little two-minute instrumental that sounds as if it came right out of 1985. The trio of live tracks from Verve, Sebadoh, and Stereo MCs work together elegantly, each building on on the energy of the preceeding track and developing momentum of its own. Sub Sub are one of the big, outstanding surprises of "Volume Seven". Smoother than smooth and fresher than fresh, they are the heirs to the 808 State throne if they choose to be (don't believe th' hype on certain usenet newsgroups, Norman Cook is not a member. - Ed.). Little Axe make a phenomenal debut with the Tackhead team of Sherwood, McDonald and Wimbish, recapturing the original On-U Sound System vision which was so sorely lacking on the more recent Tackhead recordings. The four brooding tracks in the middle of the program cling together like a building storm. The Heroines break the mood with their debut which sounds like the early, stompy Throwing Muses recordings. The closing three songs from Delta Lady, Eat Static, and Jesus Jones provide a high-energy, 15-minute-dance-a- thon conclusion. LISTEN-LISTEN, READ-READ As if that were not enough, the magazine is worthwhile as well. The graphics are slick and the tone is irreverent. Each band is given ample space to explain themselves along with a fairly critical look at each of their albums. In between there are humorous bits which ask and answer questions such as "Would Duran Duran survive a Nuclear Holocaust," as well as a "page to smell." Dry and clever in a typically English way. OWN A PIECE OF HISTORY At $30 a pop, Volume Seven is an expensive way to be the hippest kid in your neighborhood. However, for only $13.99 you'll be able to look back years from now and remember all the fun you never had during the no-so-roaring 90's. Vital Statistics Volume - Seven Released on the Total Record Company via BMG (UK) Ltd. Catalog number 7VCD7 194 Pages Total playing time: 78:41 18 tracks Teenage Fanclub - Belt Radiohead - Stupid car (tinnitus mix) Verve - South pacific (live and dangerous) Sebadoh - Whitey peach (live and desirable) Stereo MCs - Elevate my mind (live and delirious) Sub Sub - Valium Jazz Little Axe - 15 to 4 (debut) Bang Bang Machine - Life's a gas Marc Almond - Incestuous love Slowdive - Some velvet morning Seefeel - Come alive (remix) the Heroines - the Kiss (debut) the Boo Radleys - Barney Redd Kross - Any hour every day Sabres of Paradise - Lick wid nit wit (debut) Delta Lady - Anything you want Eat Static - Nucleus Trance Jesus Jones - Machine Drug (remix) Managing Editor Rob Deacon ******************************************** One Dove Morning Dove White (ffrr) THE SOUND OF ONE HAND. The name of this album says exactly what it is. It just isn't entirely clear what it says. One Dove have recorded the next great chill-out record. Even the band members appear to be barely awake on the cover. However, One Dove do not fit neatly into the dub-ambiant pigeonhole. In a domain that is crying out for an infusion of new life and new ideas, One Dove are poised to be the saviors of subtlety. This is not wallpaper. "Morning Dove White" is not the ultimate, barren landscape that extremists have been waiting for. There is melody and rhythm as well as classic song structure. There are also plenty of seven minute tracks that meander along with no particular place to go. It's a beautiful ride, but it isn't for the impatient. SPIN DRIFTING The One Dove sound is probably somewhere on the musical continuum between Massive Attack and the Orb. Deep, rolling dub rhythms support an array of keyboards and the occasional guitar. In both tone and style One Dove evoke memories of expertly crafted Colourbox records from the mid-80's. The songs are rich with atmosphere but don't get lost in atmospheric effects. While the music is remarkably beautiful, the defining characteristic of One Dove is Dot Allison's captivating voice. When she begins "Fallen" by sighing "I don't know why I'm telling you any of this," it's difficult to know whether to take it as a warning or a confession. Though comparisons have been drawn between Dot (not to be confused with Dot Warner) and Elizabeth Fraser of the Cocteau Twins, she is probably more like a second cousin to Sarah Cracknell from Saint Etienne. Either way it is a fantastic performance that gives this record more warmth, more humanity, than the rest of the music playing in chill-out rooms around the world. Vital Statistics One Dove - Morning Dove White Released on ffrr Catalog number 162 351 042-2 Total playing time: 69:57 11 tracks Fallen White Love (guitar paradise mix) Breakdown (cellophane boat mix) There goes the cure Sirens (the transient) Truth My friend Why don't you take me White love (piano reprise) White love (radio mix) Breakdown (radio mix) Produced by Andrew Weatherall and One Dove One Dove are: Dot Allison Jim McKinven Ian Carmichael ******************************************** Hit Lists From Around The World (what everyone else is listening to) The biggest hits of 1993 on the MTV European Top 20 Top 20 of 1993 -------------- 1. What is love Haddaway 2. Living on my own Freddie Mercury 3. (I can't help) Falling in love with you UB40 4. What's up? 4 Non Blondes 5. Two princes Spin Doctors 6. Tribal dance 2 Unlimited 7. Life Haddaway 8. All that she wants Ace of Base 9. I will always love you Whitney Houston 10. Dreams Gabrielle 11. Go west Pet Shop Boys 12. I'd do anything for love (But I won't do that) Meat Loaf 13. Runaway train Soul Asylum 14. I feel you Depeche Mode 15. Informer Snow 16. Oh Carolina Shaggy 17. Sing hallelujah! Dr. Alban 18. Cats in the cradle Ugly Kid Joe 19. Are you gonna go my way Lenny Kravitz 20. Would I lie to you ? Charles & Eddie United States Top 20 Singles of 1993 1. DREAMLOVER - Mariah Carey (#1 / 17 weeks) 2. THAT'S THE WAY LOVE GOES - Janet Jackson (#1 / 16 weeks) 3. CAN'T HELP FALLING IN LOVE - UB40 (#1 / 18 weeks) 4. WEAK - SWV (#1 / 17 weeks) 5. LOOKING THROUGH PATIENT EYES - P.M. Dawn (#1 / 17 weeks) 6. LOVE IS - Vanessa Williams & Brian McKnight (#1 / 20 weeks) 7. I HAVE NOTHING - Whitney Houston (#1 / 16 weeks) 8. TWO PRINCES - Spin Doctors (#2 / 20 weeks) 9. IF I HAD NO LOOT - Tony! Toni! Tone! (#2 / 17 weeks) 10. IF - Janet Jackson (#2 / 15 weeks) 11. BABY, I'M YOURS - Shai (#3 / 19 weeks) 12. FREAK ME - Silk (#3 / 19 weeks) 13. ANOTHER SAD LOVE SONG - Toni Braxton (#2 / 16 weeks) 14. COME UNDONE - Duran Duran (#2 / 15 weeks) 15. ORDINARY WORLD - Duran Duran (#1 / 13 weeks) 16. I WILL ALWAYS LOVE YOU - Whitney Houston (#1 [#1] / 11 weeks [14 weeks]) 17. DON'T WALK AWAY - Jade (#6 / 20 weeks) 18. RIGHT HERE (HUMAN NATURE) - SWV (#3 / 15 weeks) 19. HAVE I TOLD YOU LATELY - Rod Stewart (#3 / 15 weeks) 20. THE RIVER OF DREAMS - Billy Joel (#3 / 16 weeks) (other happenin' singles that charted in America last year -Ed.) 52. CONNECTED - Stereo MC's 54. REGRET - New Order 56. BREAK IT DOWN AGAIN - Tears For Fears 78. THE CRYING GAME - Boy George 83. EVERYBODY HURTS - R.E.M. US Singles for the week ending January 8, 1994 1 Hero-Mariah Carey 2 All For Love-bryan Adams/Rod Stewart/Sting 3 All That She Wants-Ace Of base 4 Again-janet Jackson 5 Gangsta Lean-DRS 6 Breathe Again-Tonix Braxton 7 Whoomp! (There It Is)-Tag Team 8 What's My Name-Snoop Doggy Dogg 9 I'd Do Anything For Love-Meat Loaf 10 Said I loved You..but I Lied-Michael Bolton US Albums for the week ending January 8, 1994 1 Music Box-Mariah Carey 2 Vs.-pearl Jam 3 Doggy Style-Snoop Doggy Dogg 4 The One Thing-Michael Bolton 5 Duets-Frank Sinatra 6 Bat Out Of Hell II-Meat Loaf 7 janet.-Janet Jackson 8 The Beavis & Butthead Experience-Beavis & Butthead 9 Common Thread: Songs Of Eagles-various Artists 10 River Of Dreams-Billy Joel UK Singles for the week ending January 8, 1994 No. 39: Tag Team - Whoomp! There It Is No. 36: Bjork - Big Time Sensuality No. 26: Pet Shop Boys - I Wouldn't Normally Do This Kind Of Thing No. 25: Hulk Hogan and Green Jelly - I'm The Leader Of The Gang No. 20: Frankie Goes To Hollywood - The Power Of Love No. 19: Pearl Jam - Daughter No. 18: Shabba Ranks - Family Affair No. 17: M People - Don't Look Any Further No. 16: EYC - Feelin' Alright No. 15: Haddaway - I Miss You No. 14: Mariah Carey - Hero No. 13: Peabo Bryson and Regina Belle - A Whole New World No. 12: Janet Jackson - Again No. 11: Bryan Adams - Please Forgive Me No. 10: D:ream - Things Can Only Get Better No. 9: Meat Loaf - Bat Out Of Hell No. 8: Meat Loaf - I'd Do Anything For Love No. 7: K7 - Come Baby Come No. 6: Bee Gees - For Whom The Bell Tolls No. 5: Dina Carroll - The Perfect Year No. 4: East 17 - It's Alright No. 3: Mr Blobby - Mr Blobby No. 2: Take That - Babe No. 1: FIRST WEEK. Chaka Demus and Pliers - Twist And Shout (Each week James Masterton posts a phenominal analysis of the English chart to rec.music.misc. Highly recomended. -Ed.) The top 10 Australian singles chart For the week ending January 7, 1994 1. PLEASE FORGIVE ME - Bryan Adams [7 weeks at #1] 2. BOOM SHAKE THE ROOM - D.J. Jazzy Jeff and The Fresh Prince 3. ALL THAT SHE WANTS - Ace Of Base 4. SHOOP - Salt 'N' Pepa 5. ALL FOR LOVE - Bryan Adams, Rod Stewart and Sting 6. THE WEIGHT - Jimmy Barnes and The Badloves 7. CREEP - Radio Head 8. GOT TO GET IT - Culture Beat 9. MOVING ON UP - The M-People 10. HERO - Mariah Carey This list comes from: jamie@yoyo.cc.monash.edu.au (Jamie Scuglia) AUSTRIAN TOP 20 SINGLES OF THE YEAR 1993 1 What's up 4 NON BLONDES 2 All that she wants ACE OF BASE 3 What is love HADDAWAY 4 No limit 2 UNLIMITED 5 Can't help falling in love UB40 6 Would I lie to you CHARLES & EDDIE 7 Living on my own FREDDIE MERCURY 8 I will always love you WHITNEY HOUSTON 9 Informer SNOW 10 Mr. Vain CULTURE BEAT 11 Runaway train SOUL ASYLUM 12 Life HADDAWAY 13 Koa Hiatamadl HUBERT VON GOISERN 14 Oh Carolina SHAGGY 15 Love line UNIQUE 2 16 Love sees no colour U 96 17 Die da DIE FANTASTISCHEN VIER 18 Heal the world MICHAEL JACKSON 19 Somebody dance with me D.J. BOBO 20 I'd do anything for love MEATLOAF This list from: sluka@kirk.fmi.uni-passau.de (Bernd Sluka) BAVARIAN TOP 15 (singles), 12/31/93 1. I'd Do Anything For Love MEATLOAF 2. Please Forgive Me BRYAN ADAMS 3. The Sign ACE OF BASE 4. Go West PET SHOP BOYS 5. Living On My Own FREDDIE MERCURY 6. Alles nur geklaut DIE PRINZEN 7. U Got 2 Let The Music CAPELLA 8. Cryin AEROSMITH 9. Get-A-Way MAXX 10. Maximum Overdrive 2 UNLIMITED 11. Boom! Shake The Room JAZZY JEFF 12. Piece Of My Heart INTERMISSION 13. What's Up? 4 NON BLONDES 14. Feels Like Heaven C. COOKIE 15. Wir zwei allein DAVID HASSELHOFF This list provided by: fany@fons.nbg.sub.org (Martin Sluka) ******************************************** Upcoming Releases of Note or Interest (a few good reasons to go on living) Normally there would be an extensive, up to the minute list of all the wonderful new recordings slated to arrive in stores over the coming months. Unfortunately, the holidays have wrought their usual havoc and the list is unavaliable at this time. Suffice it to say that the evasive Morrissey is still scheduled to come out early in February. The long awaited American release of Paul Weller's second solo album is due out in late February. Beyond that, you are on your own. ******************************************** The Next BIG THING by Frankie Machine Another casuality of the holiday season. Our man at the "Blue Marlin restaurant and raw bar" has been mysteriously unavaliable for comment. Messages have been left with the waitstaff, but his barstool has been inexplicably vacant since shortly before the Rose Parade. It is extremely unlikely that there is a connection. For the uninitiated, this space is generally filled with Frankie's acute observations of coming trends in popular music. Sadly, the magnitude of his keen insight is matched only by the frequency of his irratic behavior. Good luck Frank, wherever you are. -Ed. ******************************************** Mail from YOU to US (write us at ai983@freenet.buffalo.edu) Dear Bang, Nice work on the Zine. I enjoyed the article on the Harry Connick Jr. Christmas album though I was disappointed by your failure to make any remark or reference to stuffing Jill Goodenough's stockings. I have a question for Mr. Machine (The Next BIG THING) about a trend I have spotted Last year Natalie Cole resurected her deceased father's career with a chart topping duet. More recently, Frank Sinatra's half hearted and largely uninspired "Duets" brought Ol' Blue Eyes more attention than he has had since he married Mia. Do you see a trend? Are overblown, pompous pop stars from years gone by going to innundate us with career saving duets? I heard rumors of a Tony Bennette / Red Hot Chili Peppers project. Should I live in fear of a Perry Como / Pearl Jam pairing? -Ian Bayne Frankie replies Ian, I think I need only point to the first Beavis and Butthead single, which is a duet with Cher singing "I Got You Babe" to say that this is definitely a trend to be reckoned with. However, with any luck at all this will run its course before Elvis Presley gets involved. Dear Bang, Is this where I write to get free stuff? -Steve Jenkins Steve, We think you want Details Magazine. They give away a lot of great free stuff. The internet address for them is: "Detailsmag@aol.com" -Ed. Dear B.S., I have a general rant that really doesn't have anything to do with you or anyone you know, but your going to get to hear it anyway. Do you, or anyone you associate with know anything about the English television series "Lipstick on Your Collar"? I saw one episode and never saw it again. It featured big, surreal production numbers and naked women. . . I am on a quest to find out all that there is to know. -Jonathon Liss Jonathan, Sorry, no information. However, we have assigned a team of reaserchers to "find out all that there is to know" and communicate it back to you. Mentioning surreal production numbers and naked women always peaks the interest of our research staff. If anyone has information concerning the series in question (or any other show with surreal production numbers and naked women) let us know and it will be included in the next issue. Good question, we'll be sure to send you lots of free stuff. -Ed. Hey- Something was messed up with the color pictures in the December issue. They didn't quite look right. I think you screwed something up. -Randy Straughn Randy, The December issue's pictures were indeed, as you so eloquently put it, "messed up." We had hoped to pass it off as some sort of wacky techno graphic, but you caught us. We are still on the steep end of the learning curve and a lot of the technical difficulties we are running into will be solved in time. We hope. In the meantime, thanks for your help in identifying the bugs. No, really. Thanks. -Ed. ******************************************** Bang Sonic! is published once a month as both a stand alone Macintosh document and as a text only file. This goes without saying and yet, somehow, it needs to be said: if you don't have a Macintosh, read the "text only". If you do have a Macintosh, get the stand alone "doc" and de-bin-hqx it. It's just that simple. The choice is yours. Bang is avaliable in a few Usenet groups. Look for it in: alt.zines alt.music misc.writing rec.mag rec.music.misc rec.music.reviews Technical difficulties not withstanding Bang Sonic! will also be avaliable via: FTP: etext.archive.umich.edu Gopher: etext.archive.umich.edu gopher.well.sf.ca.us You can also get a copy of the most recent issue by writing to us at: ai983@freenet.buffalo.edu Bang Sonic! is edited and allegedly managed by Colin P. Macinnes. Lending invaluable assistance with the more mundane aspects of day to day life are: Assistant Editors- J.Patrick Ronan & Todd Matthews Writers- D. Carver J. Burnett B. Crull T. Scodwell Advice and Bartending- Scott P. Higgins Special thanks to X-Mag Czar, Jeff Hansen. "Thank you. Goodnight everybody!" -Yakko Warner (Animaniac)